CONTINUED FROM COLOUR PERCEPTION AND ITS AESTHETIC

TRANSLATIONS - PART B

The Raman effect on Husain” an article published in 1984 ?,Times of India reviving his exhibition by Lakshmi Lal point out

interesting connectivity between Scientist world and Artist perception. “These are the first radiant gleanings of Husain’s oceanic exercise in the colors of truth, his truth; an exercise inspired by the spectacle of color formulated by a scientist; seer,-exhibition titled “99years of C.V.Raman”.

Husain begins by breaking down given approaches. His unit, his phrase, is no longer handed out by traditions of easel painting. There are geometric segments strongly evocative of crystalline structures symmetrical and asymmetrical, held together by nothing more or less than the white wall-spaces between them and tensions that flow and bind those particular groupings. Backing these are fine black lines that bear these, like an underwater support, presenting them as one unit. In Unit A, for instance, red breaks out in lines that a lead outside the form as if, having plundered in, it emerges in a vermilion streak, flashing truth. There are forms where crystalline bits seem to move and swim sperm-like into foetal, embryonic stances, waiting for birth. They are like sentences in this essay on color, barely punctuated and breathlessly enunciated. Husain says it all in a rush of color, presenting a torrential visual discovery that has been patterned and shaped by the march of geometry into formation of meaning.

What strikes one about this exercise- for exercise it is –is the feeling of motion that has stilled into an interval of perception; stillness, in turn, poised to break free into the next and newer movement. It is the still centre, the eye, of a raging storm of color. “The act has begun,” states Husain’s manifesto at the entrance.” There is no story, no plot … (only) brush and the birth of color.” It is as I said, an exercise, an interim performance. Husain kept repeating, “It is only a beginning” and refreshing manner kept pointing at one or the other, saying “I was not satisfied then…” It is a new road that he is traveling where the artist lets himself be led by the nose by the presiding deity of color.

Circles, half-circles and crystalline shapes seem to have figure-skated and slide into position, ready to dissolve re-shape and re-form into new groups, fresh births, Storm-clouds of color seem to settle into calm skies of space, dormant, full with fresh outbursts, pregnant with meaning that could hatch fresh insights.

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I am trying to imagine the colors of Husain’s original painting with help of Photoshop through colour balance method..

Here the skin tone of Sir C.V. Raman’s face is taken to gauge the overall colour. Artist dependents on color appearance method

Copy of raman1.tif

The visual (at the bottom) is original black & white printed photograph from which is (on the top) rendered in imaginary colors using “achromatic to chromatic value scale” method. This is turned into gray scale mode to check the same by means of matching with the original’s gray values. I hope that my colors are close to M.F. Husain's original colour.

Notice the contours of the mountain in both the pictures the one taken in 1921 on the left and the other on the right photographed recently in colour shows effect of global warming…

My cover design’s various stages from rough concept to final printed, the applications of pointillist method with the help of various medium, a good learning of colour management…

Few examples of my cover designs where I tried to explore different paper surfaces and colour medium, basically to depict the themes…

My state award (1974) winning Poster design created by means of embossed print-making technique explored here through different light filters and colors just to understand visual effects in context to theme depictions…

Find below on the left, the original art work for Dr. Madhuri Thakar’s biography as a

physiotherapist depicting how she helped the poor patients in need. Unfortunately

after the final printing by the publisher the visual concept of poor man holding the

rainbow is defeated due to loss of colors. I wanted this visual thought to be

communicated to millions through this media. How can we literate these printers

about COLOUR MANAGEMENT? I can present many such examples…

Are we ready to understand this Colour Aesthetic Translation of Vincent Van Gogh…?

• “No more fitting epilogue can be provided for Van Gogh than this series of self-

portraits, which reveal the changes in his style and his growing self-awareness. An early

study ( top left first ) shows the Dutch influence of dark, earthy tones. His palette grew

lighter and more intense in Paris (second,third,fourth and fifth). The hues of Arles

reminded Van Gogh of Japanese prints and he painted himself as a Buddhist monk

(sixth). After his mental breakdown, he saw himself as an apparition emerging from an

ambiguous background (seventh). His last self-portrait (eighth) is a powerful study of

fevered mind held in check by monumental effort of will.” (Ref. The World of Van Gogh-Robert and the

Editors of Time-Life Books, courtesy Shantaram Raut an artist from Thane) See the next slide…

My Visual Journey with Mr. Kiran Prayagi of “GATE” since last four years …GRATITUDE…

• My first * Research paper on “Techno-Aesthetics and Colour Management” for the Colour Management Conference for

print media conducted by Mr. Kiran Prayagi of Graphic Arts Technology and Education, AGFA, and KODAK in city of Mumbai. It focuses on

Design awareness in Graphic Arts.

• The second *“Colour Appearances-faithful or false reproduction of colors a challenge for colour management” a seminar/workshop conducted by India Flexographic Technical Association along with Graphic Arts Technology and Education in Mumbai.

Lecture and workshop on the same topic in “Colour Management” meet at INDO-GERMAN COLOUR MANAGEMENT CONFERENCE in co-

operation with GATE and CHEMNITZ UNIVERSITY OF TECHNOLOGY Germany.( In India) It focuses on Seven aspects

mentioned earlier that affects colour. This is redefined version on the same topic presented earlier.

• This year’s “Colour perception and its Aesthetic Translations: Academic experiments in visual/ communication

art” has reinforced my quest to see the relationships with Science/Technology and Visual Art.

• This journey began way back when My research paper* 1985: Published in the proceedings of International Colour Conference

(C.I.E.) on the “Role of Colour in Audio – Visual Education’” with invitation to present in form of a

“POSTER PRESENTATION” at Monte Carlo–France which was presented by Co–author Dr.Shalini Patwardhan in France.

Notice the following visual details in the painting

Highlight The brightest light, where light from the source fails most directly on the object.

Cast Shadow The darkest shadow, caused by the object’s blocking of light from the source.

Reflected light A dim light, bounced back onto the object by light falling on surfaces around the object.

Crest Shadow A shadow that lies on the crest of a rounded form, between the highlight and the reflected light.

Water colour

painting by my fatheran artist and colourist Prof.R. P.Joshi.

(12th March 1911-19th May1987)

Finally my gratitude towards… My family…Great grand father for injecting art in our blood that has pass on to my grandfather, father art educationist and painter, mother a gifted vocalist, and all members starting from eldest brother Satchidananda the Architect, sister Neelatai the Art master, Suhas the Printing technologist, late Ravindra the humorist, sister Pratibhatai the singer, Prakash the Fine Artist, myself Commercial Artist, Charudutta the Fine Sculptor and with additions of my wife Vidya Applied artist and art educationist, Aditya the fifth generation my son Art Director/ Graphic Designer and his wife Gauri the Web art director… All Sir J.J. School of Art’s alumnus…

Drawings of great grandfather 150 years ago, a portrait sculpture by my father of grandfather and my father on the spot doing landscape 50 years ago and an old file photo of entire family…

I am grateful with the sense of gratitude to my late father

an artist and colourist Prof.R. P.Joshi who inspired me to venture into the

world of colours, Dr. Mrs. Shalini Patwardhan known Indian Colour Scientist,

who put me to the world colour map with constant encouragement, Mr. Kiran

Prayagi whose thirst for knowledge with touch of professional quality and

sense of aesthetic with true desire to bring Art & Science together and finally

my Art Guru Shantaram Pawar with his earthy colour palette paintings gave an

insight about Oriental Indian Art forms and colours, all of them are equally the

contributors to this colour journey. I have to thanks my friend art and

literature critic Deepak Ghare .

Notice the after-image from the previous slide creating the illusion of the Indian Flag with its original colors.

FOR KIND ATTENTION

THANK YOU